Anand: An ode to the merit of imagination and beauty

Arundhati Roychoudhury

(musegrit@gmail.com)

The word Anand is an expression of life's boundlessness. Hrishikesh Mukherjee searches for the fundamental question of human existence in his 1971 film Anand- "What is life and how does one defeat the fear of life by vanquishing the source of this fear- Death?"

Anand explores this duality through the two key protagonists Bhaskar Banerjee and Anand Sehgal who thematically embody two conflicting perspectives of Light and Dark- the eternal cycle of Life and Death.

Dr Bhaskar Banerjee is disillusioned with life as a result of the horrors of poverty, disease and destruction he witnesses around him. His vocation as a doctor gives him a certain moral compass that motivates him to save lives by curing the most fatal illnesses. But this constant over-familiarity with a bleak world drags him down into despair and dejection, and the absence of light in the world he looks at, almost destroys his inner light.

Bhaskar is contrasted by the character of Anand, who puts up a mirror in front of him to show him the truth that he had given up on. Anand is battling Cancer, which is a terminal disease. But he refuses to be a victim of his condition and chooses to be happy instead. Anand exudes radiant confidence and optimism for life and he possesses an enigmatic personality that puts a smile on Bhaskar's face after a long time and makes him laugh and boosts his morale at every step.

Anand is aware of his slowly approaching physical deterioration but he is strengthened by the faith of his convictions that he will not let his circumstances outweigh his enthusiasm for life. Bhaskar forms an endearing bond with Anand and they slowly become each other's source of strength. Bhaskar is amazed at and inspired by Anand's determination to survive and thrive against the odds.

Bhaskar pens down his thoughts under the light of a lampshade on his study desk every night about his ruminations on the philosophical meaning of the cycle of death and rebirth, articulating his perception of Anand and the role his arrival plays in giving him a new perspective. In these contemplative writing sessions, we can observe an obscured yet strong writer whose passion for words provide him with a coping mechanism to overcome his arduous reality. The plot unfolds in a retrospective, flashback-driven narrative of events spoken through Bhaskar's voice.

The words uttered by Bhaskar throughout the film and in his book assert a resolute lesson he learned from his short-lived friendship with Anand Sehgal that life must be pursued relentlessly despite the lurking threat of its remorseless hurdles.

Anand addresses his newfound friend as 'Babumoshai', an affectionate expression of his genuine benevolence for Bhaskar, perhaps seeing in the latter a beacon of light who'll carry forward Anand's unwavering commitment to reach a new utopian destination, because he is sensitive to the knowledge that no matter how harsh the material factors are, one's capacity to imagine a new tomorrow, a better, a more generous world for every person and one's resilience to work towards that mission is what truly defines the human spirit. And this tenet is especially relevant to Bhaskar who is no stranger to death.

'Kahin Door Jab Din Dhal Jaaye' and 'Zindagi Kaisi Hai Paheli Haaye' are two essential songs in the film which convey the core message Anand wanted to give to the world we suffer in tears at our hardships and yet we laugh with unspoken happiness at the wonders life has to offer. Images of earthen lamps, sunset and dusk, pain and the innate longing of attachment leave an indelible imprint on our minds. The visual language of these songs propels the voice of sincerity as spoken through the power of dreams of our eponymous protagonist who transcends and rises above the squalor through the sheer willpower of his imagination of a healed world. Anand restores Bhaskar to life. Anand symbolizes happiness and the human ambition of this happiness because he has accepted, in Joseph Campbell's words, "death, not as contrary to life, but an aspect of it." Anand experiences an unconditional affirmation of life because he has accepted his greatest fear. Anand's character represents the paradoxical self-awareness of nature- its creative and destructive potential. The richness of his spirit emerges from the knowledge of his pain and he spreads his warmth and vigour onto everyone he meets. He lives every day and enlivens the spirits of every individual on the way, emerging victorious over his nearing possibility of death.

This profound philosophical meditation set forth by Hrishikesh Mukherjee is poignant no less. Anand ultimately breathes his last in a scene where the words of Gulzar reverberate through the tape recorder 'Maut Tu Ek Kavita hai' (Death, you are an Elegy), capturing Anand's final moments. Bhaskar arrives too late and closely escapes the moment of his beloved friend's departure. But he hears Anand's echo as pronounced by the voice from the tape 'Babumoshai' and that renews his morale. The film ends with an image of balloons up in the sky, reiterating Anand's immortal spirit as Bhaskar narrates, 'Anand mara nahi. Anand marte nahi.' (Anand isn't gone. Anand is alive.)

The plot of the film is dispersed with light moments of humour shedding light on class divisions in India's social life and in a light-hearted way criticizes the general indifference to the plight of others. Hrishida dedicated his film to the people of Bombay, a city that epitomizes plurality and vibrancy, mirroring skyscrapers and slums in the same shot, people toiling every minute for their survival and persevering with stubbornness. Anand portrays this anticipation and expectation of a nonchalant yet escapist view of life, which is not devoid of its realization, but the story illuminates moral courage, despite it.